6 posts tagged “amanda palmer”

Today was a dark day indeed in music:  the Junos (the Canadian version of the Grammys) offered up five nominations to Nickelback (for an album that received one star reviews across the country and was aptly referred to, largely due to high levels of misogyny in the lyrics, "a soundtrack for date rapists everywhere" by one weekly), and Amanda Palmer blogged about the vast majority of UK outlets refusing to promote or play her latest single Oasis, or its accompanying video.

Oh wow.  First her belly does not resemble an anoretic's and thus, Leeds United's video is unsuitable to her label.  Now this.  Since when did artistic licence to approach the world with black humour suddenly become revoked?  Aren't the British of all people notorious for black humour and taking the piss?  Or have I gone mad and missed a mass brainwashing via The Hills and its spawn reality shows?

Amanda's entry does a commendable job of expressing my views on the subject of censorship in the arts, and I strongly encourage a read.  Do also feel free to join me in emailing the guilty parties and asking them what is up with this nonsense.  I've been merrily clicking the links supplied by Amanda all evening. 

Here's what I've been sending to the outlets banning Ms. Palmer's single:

I am extremely disappointed and disillusioned with your lack of respect for artistic integrity by opting to decline to promote/play Amanda Palmer's latest single, Oasis.  It is my understanding that this outlet falls on the side of the song being offensive and 'making light' of the issues of rape and abortion, 

First of all, the song's lyrical focus should make it clear that what the song is truly addressing is the fact that teenagers exist who idolize celebrities and have such a shallow view of their lives that a girl who is date-raped and ends up having an abortion cannot even take her own dreadful situation seriously, her head being firmly inserted into her rear.  Hence the chorus centred around the band Oasis.  The storyline of the rape and abortion are rather incidental and serve only to flesh out that broader point.

Second of all, even if the song and video do jest in a black humour fashion at those issues (and the 'annoying' Fundamentalist Christians), so what?  I am actually disturbed that songs such as Eminem's Guilty Conscience (which promoted date rape in a way that did NOT feel sardonic) are permissable and promoted, but this one isn't.  Why not?  Why can we not examine serious issues through black humour?  South Park's bread and butter is a dark humour examination of multiple issues, with there ultimately being an intelligent point to the exercise.  Amanda Palmer musically embodies the same spirit of 'everything is fair game' as Trey Parker and Matt Stone embody.  BBC6 aired the song;  surely you could choose to promote it as well. 

As a survivor of rape and molestation, never mind abuse, I am not offended in the slightest by Oasis.  In fact, it's one of my favourite songs on the entire album.  A long time ago, I decided that I could do one of two things:  I could cry, and continue to cry, or I could laugh, and try to find beauty in the darkness, find things to be grateful for from those experiences and how they shaped me.  Oasis is bold, admittedly controversial, but to shy away from such things only says that these issues are not okay to speak of in a public forum. 

I urge you to reconsider and give Oasis its due.  Be daring.  Be bold.  Open the forum up for discussion.  Here in Canada, the song Leviticus Faggot by Me'Shell Ndegeocello was played despite its controversial lyrics and title, and Muchmusic then held a TV special with panelists including Me'Shell addressing issues about the song, gay rights, and suicide.  If you genuinely believe the song could offend, open up a similar discussion and get the issues into the open! 

Sincerely,
Amber (Toronto, Canada)

In light of this nonsense, I welcome those of you who are NOT Amanda Palmer fans to take a gander at the video for Oasis.  If Ben Folds can produce this song after his girlfriend in high school had an abortion, and Amanda can write it after her own abortion, then surely world sensibilities are not nearly as hypersensitive as these supposedly edgy outlets believe?  Surely, I can cling to the knowledge that the world will not be assimilated by Celine Dion and Carrie Underwood?  Please?

The "Oasis" Music Video - From "Who Killed Amanda Palmer"

What music blog is complete without a yearly wrap-up on the releases of the year that stood out, for positive or negative reasons?

Admittedly, I have not been as in touch with the releases of the year and must preface this entry with stating that there are going to be glaring omissions from this list. Life has kept me from music this year, be it keeping me from concerts I wished to see, keeping me from the time to listen to albums I want to hear, or making it difficult to listen to certain artists without feeling uncomfortable. However, I do have several albums upon which to rave or rant, so here's what you get.

This was a year where my stalwart music artists took the backseat for others, where single songs possessed my devoted attention, while albums were generally shunned. It was a year of nostalgia, as I turned to older favourites for comfort in trying times. But beyond that, I found this year's music lacklustre and not to my liking, perhaps due to the concentration of artists in genres I'm not fond of. For several months, I was “off music”, something that has never happened before to me. It was disorienting, to say the least.

The concerts I saw this year were fewer than I would have liked, but none of them disappointed. All of them delivered beyond my hopes and expectations. It was a year of seeing new artists and old favourites. If I were to rank a top five of shows I saw this year, it would go a little something like this:

5. Rilo Kiley at The Phoenix: Solid set, great energy, tight openers including Thao Nugyen

4. Paramore with Jack's Mannequin at The Kool Haus: Amazing energy, three solid openers, and Jack's Mannequin renewed my love for Andrew McMahon

3. Melissa Etheridge at Massey Hall: Three hours of non-stop, high energy music with powerful and moving banter between songs. A first time for me with Melissa and hopefully not the last.

2. Matthew Good at Massey Hall: This man never disappoints me with his intense delivery on every song, his caustic wit and his genius songwriting. So grateful this became a live album.

1. Amanda Palmer at The Mod Club: It had every element going for it – incredible setlist, stellar performance, fabulous openers, and incredible theatrics and stage presence. Easily one of the best performances I've seen Amanda give (and I have 8 other points of reference).

And now, without further ado, here we go with my personal 'awards' for 2008:

Album That Sends Me Into Fits Of 80's Nostalgia: Saturdays=Youth by M83. This album is utterly fantastic, with tracks like Couleurs, Highway of Endless Dreams and Skin of the Night leading the charge into a soundscape that evoked Erasure meets Conjure One meets Arcade Fire's intelligent layering and music craft. I easily find myself lost within the tracks of this album in a way that lands on par with Explosions In The Sky and Max Richter.

The Album That Lived Up To The Hype: Donkey by CSS. I'm not much of a trend follower, and even the critical darling pieces often leave me cold (see: You Say Party, We Say Die!; most of Radiohead's post-OK Computer output; Coldplay's discography). CSS however live up to the excitement, and Donkey is just so much fun to dance around to, one can't resist it. There's not a single bad track, although some are stronger than others. I'm fond of Believe Achieve, Jager Yoga and Let's Reggae All Night, myself.

Reviving The Now Crowded Male Singer-Songwriter Folkie Genre: Charmed and Strange by Yoav. I first had a taste of Yoav's music as he opened for Tori Amos' American Doll Posse tour in 2007. At first, I took one look at a lone guy and a guitar and immediately wondered how Tori kept finding Howie Day part nauseum. Yoav, however, is far more clever as a lyricist, and his musical palette is more acoustic Red Paintings than Jason Mraz. Adore, Adore, There Is Nobody, and the soulful One By One set Yoav miles ahead of a crowded field.

Bringing The LOLZ To Musicals: Dr. Horrible's Sing-Along Blog. Joss Whedon remains my master after he cleverly proves that you can give a product away for free and then sell it... and make a profit! Neil Patrick Harris singing about freeze rays? An Evil League of Evil run by Bad Horse? Each song is so silly and fun, I can't help myself. Once More With Feeling was one of Joss' finest Buffy hours. Perhaps he should write an actual musical, complete with ridiculous stage sets? I can dream!

The Slightly Guilty Musical Theatre Junkie's Pleasure: I Stand by Idina Menzel. Are some of the lyrics cliched? Sure. Are some of them dripping with the saccharine Celine Dion is famous for? Hell yes. Does Idina kick ass and take names vocally, making the album enjoyable all the same? You bet your (tattooed) ass. Check out Brave, I Stand, I Feel Everything.

Solid But Sorta Overrated: Third by Portishead. This is where gasps of indignant objection begin. I am not, let me stress not implying Third isn't a solid album of quality music, good news for a band that took such an extended hiatus. But on repeated listenings over time, I can't say the album stands out enough as a whole to make me want to listen to it over and over. Some tracks are absolutely stunning (We Carry On; Silence; Nylon Smile), while the others are solid but not worth the prostrating critics gave it. I coin this Radiohead syndrome.

Letdown of the Year: Acid Tongue by Jenny Lewis. When Rilo Kiley's Under The Blacklight came out, my personal theory for the album not being to par with their previous outings was that Jenny and Blake were both 'holding back' for their solo projects. Unfortunately, that may have not been the case with Jenny. It's not a bad album, per se; tracks like Jack Killed Mom and Pretty Bird resonate with me. It's just not memorable; each song blends into the next, lacking the wordplay jabs and sonic shifts throughout Rabbit Fur Coat.

Best Album That's Not Really An Album: No, Virginia by The Dresden Dolls. Consisting of outtakes and old live favourites finally recorded for official release, No,Virginia feels rather all over the place at times. But when viewed as a b-sides/rarities collection, this is acceptable, and the quality of the material is enough to enjoy it. Dear Jenny, Mouse and the Model, The Gardener, Lonesome Organist Rapes Page Turner... All the typical fun and punk cabaret you'd expect from the Dresden Dolls.

Best Return To & Reinvention of Roots: The Slip by Nine Inch Nails. Is Trent in angsty form? Oh yes. Do I detect a strong flavour of the 80's tinged Depeche Mode-ness of Pretty Hate Machine? Yes, yes I do. Does this album deliver both rocking and despairing tracks with a lyrical flavour that feel more self-aware and self-mocking than self-loathing? Damn right it does. I love this album rather passionately, and offer you 1,000,000, Discipline, Demon Seed and Letting You as the places to start your love affair.

Favourite Local Album: Meeting The Future At Full Speed by Karen Kosowski. I've already covered this album in extensive detail in this blog, but it deserves its mention here. Karen remains one of my favourites among the Toronto-area indie artists I've come to know and love, and this album only builds on her previous stellar album, Out Here At Sea. Earnest and hopeful, its electro-pop vibe will leave you humming your way through the day, even at its darkest.

And now, *drum roll* the big awards...

Best Album of the Year (live): Live At Massey Hall by Matthew Good. After such an extensive catalogue, it was long overdue that the raw emotional intensity of Matthew Good be captured for prosperity on CD, and this disc is special in that, other than edits to correct lost audio the night of, it is an uncorrected live album. Having been at the show it was recorded at, it takes me back to one of the best concerts I saw this year. The set strongly slants towards Hospital Music material, which to me is one of his very best albums. In light of the loss of my grandfather to cancer, 99% Of Us Is Failure hits particularly hard and is one of the highlights of the 2 disc set. Many songs are much richer live (She's In It For The Money is painful to listen to because of the raw pain in Matt's delivery; A Single Explosion closes on a haunting powerful note), which makes this album a must have for fans and a fantastic introduction to his genius.

Best Album Of The Year (studio): Who Killed Amanda Palmer by Amanda Palmer. I've been with Amanda since a friend encouraged me to download Girl Anachronism in 2002, and I am with her for the long haul. I dearly love her work within the dynamic of The Dresden Dolls, love the playful cabaret feel of the drums and piano coupled with incisive and something darkly amusing lyrics. This album bring those elements of lyrical finesse and dark humour, but it also brings a more personal, deeper look into the human condition with songs like Strength Through Music and Have To Drive. Coupled with Ben Folds' guiding advice (the usage of a very raw demo vocal for Leeds United was a brilliant move that only adds to the song) and the gorgeous strings created for the album, Who Killed Amanda Palmer is the album Amanda was born to write, and the one album that you must try, no matter what preconceptions you may have of The Dresden Dolls or Amanda herself. Get started with Astronaut, Leeds United, Guitar Hero, Another Year and Have To Drive.

And now, a few older discs worth mentioning...

Rediscovery of the Year: Act I: Goodbye Friends of the Heavenly Bodies by Neverending White Lights. An album from 2005, it's always been one I have endorsed to fellow music lovers. The ethereal moody feel of Daniel Victor's compositions, complimented by haunting and heartbreaking lyrics performed by a who's who of the Canadian alt rock scene, this album crept up on me and demanded centre stage in 2008. The lyrics weave a set of stories about loss and love that interconnect subtly, adding a delicious cohesion. Sample The Grace, I Hope Your Heart Runs Empty or From What I Once Was.

Better Late To The Party Than Never:  Kala by M.I.A. I'm not generally a girl who goes for hip hop, rap or R&B; it's just not my scene. The odd song will catch my ear, but nothing that has me buying a CD, not since Salt N Pepa's Very Necessary. But with Kala, M.I.A. has created something so utterly fun and sassy, one can't help but be drawn in. Paper Planes caught me, hook, line and gunshot sample, and that has led to an affair with $20, Come Around and XR2. Where was I in '92? Wishing for music this ridiculously enjoyable!

Better Late To The Party Than Never, Part Two:  The Awakening by Melissa Etheridge. Passed a copy of this by a friend prior to my live experience with Melissa, it's fast become an album dear to my heart and almost a metaphor for my entire year. While some may find the spiritual elements a little off-putting (there is some God mentions, but most of it is general spiritual belief), it's an incredible testament to the journey Melissa went through emotionally as she battled breast cancer. There are scathing political references as well, fitting in light of this election year, and songs of regret and heartbreak. But the end feeling is one of being able to rise above everything, if we believe that all can be possible, and that there is something larger than us. A solid, well-written album that doesn't have a single dud to it.

"What's the use of going outside?

It's so depressing when people die in real life..."

Guitar Hero - Amanda Palmer

This review comes several weeks late, and for that, I apologize.  It's not often when I delay a review for a concert that easily ranks as one of the best I've seen in recent years, but this was a special circumstance.  Waking up the next day, giddy from the show and from speaking with the divine Ms. Amanda Palmer, I received a text message I'd been dreading, which led to a phonecall confirming my grandfather's passing from cancer that afternoon.

The strange thing of it was, I'd received a text message at the show, and in a foreshadowing of that moment, I'd reluctantly reached for my phone, certain that he was gone then.  That text was from a friend and fellow fan, but I could not shake that sense of foreboding for the entire concert.  It is because of this sense that my life was about to change forever, that sense of loss being so near after months of fear and sorrow and rage, that every poignant song of Amanda's set hit just that much harder.  Every moment felt richer, felt fuller and more engaging than it already was.  As I had sworn to myself months earlier, listening to Melissa Etheridge speak on life and cancer between songs, I lived my life as fully as I could in his honour, and that included engaging utterly and completely with the spectacle that was the Toronto stop on Amanda Palmer's most recent tour.

Opening for Amanda were Zoe Keating, who you may know from Rasputina, working her incredible magic with strings and her computer (when it behaved).  The sombre feel of her instrumentals lent a funereal air to the proceedings, fitting in light of the fact that Steven, our master of ceremonies and gifted member of the Danger Ensemble, announced early on that Amanda Palmer was dead.  From Ms. Keating, we moved into a rousing set courtesy of the Builders and Butchers, a fantastic band that reminds me of a cross-breed between Jenny Lewis' solo material and The Spades, a bluesy rock band that opened for Matthew Good earlier this year.  I highly recommend their sometimes sillier, sometimes serious music;  they left me wanting to drink and jig it up through the Mod Club.  If nothing else can be said for Amanda Palmer and The Dresden Dolls, it is the fact I've yet to see a lacklustre opener for their shows.

And now, Amanda fucking Palmer, or afp as those fans in the know call her now...  Amanda is rather internet-savvy, so it actually seems viable that my review of her last outing in Toronto reached her eyes (and was hopefully received in the loving spirit with which it was written).  The key criticism I had of that show was the plethora of covers in the setlist, and lo and behold, there were very few covers on this night.  The addition of the Danger Ensemble made for a night of spectacle and fun, and with Zoe, Lyndon and the Builders and Butchers bringing the strings and things to back the songs up proper, who could ask for more?

But let me elaborate on this a little.  The setlist was strong, with Amanda arising from the dead to slam into a gorgeous rendition of Astronaut that immediately engaged the entire crowd, and moved into old favourite Ampersand with ease.  Songs like Have To Drive and Strength Through Music were made stronger by their visual interpretations courtesy of the Danger Ensemble, with simple but powerful imagery accenting Amanda's raw and sometimes unnerving lyrics.  The crowd was also treated to one of Amanda's strongest solo songs, a gem left off the Who Killed Amanda Palmer disc entitled Straight, which pretty much sealed this show into top 3 of the year status all by itself.  And what other artist offers up the ability to ask questions via a box that will be answered candidly and with great humour?  What other artist lip synchs to Rihanna's Umbrella complete with choreographed routine and actual rain via water bottles?

You see, the elements of theatre, coupled with songs that cut to the honest and secret places of people's hearts without shame, are what make Amanda Palmer one of the geniuses of the modern music scene.  Amanda understands how to engage, how to affect and how to move her audience.  She writes for her sanity's sake, for her amusement, and for the sake of all of us locked in our bedrooms, choosing our soundtrack for our lives.  She is genuine in her love and respect for other artists, and they too capture her audience with their passion.  One feels privy to a secret artists' party when attending a show helmed by Amanda.  The line between audience and performer blurs to where there is no line, just a genuine love in the spirit of punk cabaret, a feeling made literal as Amanda enters the audience during encores to strum a uke without microphone and sing Radiohead's Creep atop a bar. 

Even if Amanda somehow doesn't quite register for you on CD, see a show.  Take a friend.  Like so many of my friends before you, you will be far more engaged at a performance than listening to any MP3.  Most importantly, support the music.  Buy it.  I am certainly not antidownloading, but the smaller artists need the support of their fans to survive. 

Highlights of the show:  Astronaut, Strength Through Music, Guitar Hero, Straight, Half Jack, Umbrella, Living On A Prayer, Leeds United

Sadly missed:  Another Year, The Point Of It All, The Perfect Fit

Amanda's blog and site can be found here.

The Builders and Butchers await you here

Love some Zoe Keating here

The Danger Ensemble can be supported here.

YouTube footage of this show can be found at my channel (username:  turnoffthetv)

All previous posts about Amanda Palmer and her work in this blog can be accessed by clicking the Amanda Palmer tag.

SETLIST:  Amanda Palmer @ The Mod Club, Toronto 11/30/08

Astronaut
Ampersand
Blake Says
Bad Habit
I Want You But I Don't Need You (Momus cover)
Coin-Operated Boy
Mrs. O
Strength Through Music
Guitar Hero
Straight
Runs In The Family
Have To Drive
Half Jack
Umbrella (Rihanna 'cover')

Living On A Prayer (Bon Jovi cover)
Leeds United

Creep (Radiohead cover)

"I can paint my face, and stand very still

It's not very practical, but it still pays the bills..."

The Perfect Fit - The Dresden Dolls

I wasn't certain how last night's very intimate solo show with the singer/songwriting force behind The Dresden Dolls would go last night at the Rivoli.  My one prior experience with Amanda solo was the event known as Fuck The Back Row, which was meant to be primarily a showcase of Amanda's favourite songs from films, and it featured Brian Viglione, her drumming partner-in-crime anyway.  But Brian is off gallavanting and drumming his sweet heart out elsewhere, leaving Amanda entirely solo on the tiny stage, without a compatriot should the crowd prove unkind (an event that would hearken the End of Days, really, since Amanda's words and piano-smashing are what make most of the wannabe-goth-punk girls squeal with delight, anyway).  I have not been reading setlists from previous dates on this mini-tour, nor have I been keeping up with Amanda's blogging.  In the end, I came away pleasantly surprised, somewhat confused at setlist choices, but overall tremendously satisfied with Ms. Palmer's outing.

The first pleasant surprise of the night was the opening duo Vermillion Lies, two Toronto-area girls who made their way, as many do, to California to seek their fortunes.  Billed as a cabaret duo, the best way I can describe their antics is to provide the following recipe:

1 Part Amanda Palmer wordplay

1 Part Quirky Canadian Humour a la Kids In The Hall

2 Parts Ditty Bops charm

Combine all ingredients in a blender, give 'em a whir, and pour out onto a stage before a group of audience members who eagerly embrace shrieking, "What's In the Box?" (alas, not Gwyneth Paltrow's head). 

I am absolutely in love with these girls.  Their songs ranged from humour-filled love songs to descriptions of Planet Porn, to a celebration of Global Warming ("It's hot!" or "It's not cool!", depending on where you stood in the venue).  Their charm and wit make for excellent audience engagement, and their lyrics will elicit healthy laughter and joy.  Add in their talent for percussion from the everyday object (BBQ grills, marionettes tapping their feet...) and you have yourself a versatile and fun night.  You will also be invited to join the circus by becoming a zombie and anyone with zombie humour is full of win in my books.

The mood was light and festive when Amanda Palmer took the stage, approaching a standing mic and lip synching her way through Ben Folds' song Cologne, while holding up bristleboard messages, one word at a time that said hello, thanked us for coming, told us Ben was singing the song and that he'd helped on her solo disc Who Killed Amanda Palmer (reviewed previously here by myself) and also, in a candid admission that was very genuine given her body language and shy warming up for the beginning of the set, "It's hard being up here alone."  I can imagine so, given the years spent touring with Brian as a unit.  Dressed in a bra and a bee-adorned corset that made me wonder if her time recently with author Neil Gaiman had led to an inadvertent connection with Tori Amos (long-time friend of Neil), Amanda settled into the keyboard before her and launched into long-time solo track and now album cut Ampersand. 

The entire night was an intimate sort of sharing, with banter between Amanda and the audience, an "Ask Amanda" portion of the show where questions were taken from the audience, and unfortunately, some people who felt the need to sing louder than Amanda to staples like Mrs. O and Half-Jack.  I'm just grateful said Bright Eyes-obsessed girl did not know the words to the solo songs that comprised a bulk of the set.  The questions ranged from the interesting ("Did you ever sell your Volvo?") to the dishy ("Did David Lee Roth ever see the Shores of California video?") to the silly ("Will you have my babies?", to which Amanda declared, "No!  No babies for me right now.  I'm too busy playing a piano!", and another boy asking, "Should I be a top or a bottom?", to which Amanda first said, "How the hell should I know?", then suggested an audience vote, then finally settled and said, "I'd have to say you're a switch.  If you have to ask...").  Stories recounted included the tale behind haunting song Strength Through Music and how her friend Kate asked her to bring a gun from Chicago to NY via Toronto, to Neil Gaiman phoning Amanda during the day and asking her to say hi to his fans at the Toronto show and to tell them he loves them, "because he is that fucking awesome." 

In terms of setlist choices, I have to say I was a bit puzzled.  Fan favourite Astronaut from the solo album had to be begged for in the encore, Oasis was a lucky moment brought on by a "you pick something" whim borne of "cheating" by "playing so many covers", and rocking track Leeds United was nowhere to be found.  Coin-Operated Boy fell flat solo, namely because anyone who's seen more than two shows is tired of the track live and its only saving grace is the interaction between Amanda and Brian on stage.  The plethora of covers was confusing, and seemed to be a case of Amanda not knowing whether it was "right" to play Dolls' material solo (even though she wrote it!) and not wanting to just play the entire new solo disc live and call it a night.  Don't get me wrong;  the covers were all solid and throroughly enjoyable, but I come to see Amanda to see Amanda's lyrical magic at work.  If I were to peg a few songs from The Dresden Dolls' catalogue as strong choices for solo play, I'd suggest The Perfect Fit, Slide, Truce, First Orgasm, Delilah, Me & The Minibar, Boston, Glass Slipper....   See Amanda?  Plenty of better choices than that radio-loved song about that boy of plastic and elastic!  For a cover, try Emilie Autumn's Gothic Lolita! 

One of the things I appreciate about Amanda is her willingness to collaborate live with her openers, and the guest vocals with Vermillion Lies on encore Radiohead cover Creep (whilst standing in the audience) were wonderful.  Amanda strumming that tiny Uke cracked me up.  Another thing I have to express is that, this being my first time hearing Amanda perform after surgery to address her vocal cords, I was astonished at how clean and powerful her voice sounded.  She almost sounded better than prior to the surgery.  Kudos to her surgeon!

More information can be found about Amanda at her solo MySpace

http://www.myspace.com/whokilledamandapalmer

Vermillion Lies is also on MySpace

http://www.myspace.com/vermillionlies

SETLIST:  AMANDA PALMER @ THE RIVOLI, TORONTO 8/9/08

*Entrance - lip synching to Cologne by Ben Folds*
Ampersand
Icarus (Jason Webley cover)
Blake Says
Mrs. O
I Google You
Runs In the Family
Coin-Operated Boy
Strength Through Music
Guitar Hero
Look Mummy, No Hands (Dillie Keane cover)
Oasis
Apres Moi (Regina Spektor cover)
Half-Jack

Encore:
Creep (Radiohead cover with Amanda on Uke! Guest vox by Vermillion Lies as she walked through the crowd singing)
Astronaut